Lazzi in the context of "Commedia dell'arte"

⭐ In the context of Commedia dell'arte, *lazzi* is considered…




⭐ Core Definition: Lazzi

Lazzi (/ˈlɑːtsi/; from the Italian lazzo, a joke or witticism) are stock comedic routines that are associated with commedia dell'arte. Performers, especially those playing the masked Arlecchino, had many examples of this in their repertoire, and would use improvisatory skills to weave them into the plot of dozens of different commedia scenarios. These largely physical sequences could be improvised or preplanned within the performance and were often used to enliven the audience when a scene was dragging, to cover a dropped line or cue, or to delight an expectant audience with the troupe's specialized lazzi.

Lazzi could be completed by a single player (e.g. the Lazzo of the School of Humanity wherein a Zanni character would announce that his sister was running a "school of humanity" from their home because she was a prostitute), a few individuals (e.g. the Lazzo of the Straw wherein a stock character of higher status would pour wine as his servant emptied it through a straw), or the entire troupe (e.g. the Lazzo of Nightfall wherein the entire troupe would stumble onto stage to enact hapless physical sequences as though the room was pitch black). While its placement in the plot was usually fixed during rehearsals, it was acceptable for an actor to unexpectedly utter a predetermined line of dialogue that instructed fellow performers to enact lazzi at any time during the performance. Sometimes lazzi could take place in dances or songs accompanied by onstage stringed musical instruments.

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👉 Lazzi in the context of Commedia dell'arte

Commedia dell'arte was an early form of professional theatre, originating from Italian theatre, that was popular throughout Europe between the 16th and 18th centuries. It was formerly called Italian comedy in English and is also known as commedia alla maschera, commedia improvviso, and commedia dell'arte all'improvviso. Commedia is characterized by masked "types" which are standardised archetypical characters shared across all productions and identified via their names, costumes, and functions in the comedy.

Commedia was responsible for the rise of actresses such as Isabella Andreini and improvised performances based on sketches or scenarios. A commedia, such as The Tooth Puller, contains both scripted and improvised portions; key plot points and characters' entrances and exits are scripted, but the actors may otherwise be expected to improvise new gags on stage. A special characteristic of commedia is the lazzo, a joke or "something foolish or witty", usually well known to the performers and to some extent a scripted routine. Another characteristic of commedia is pantomime, which is mostly used by the character Arlecchino, now better known as Harlequin.

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Lazzi in the context of Scenario

In the performing arts, a scenario (/sɪˈnɑːri./, US also /sɪˈnɛəri., -ˈnær-/; Italian: [ʃeˈnaːrjo]; from Italian scenario, "that which is pinned to the scenery") is a synoptical collage of an event or series of actions and events. In the commedia dell'arte, it was an outline of entrances, exits, and action describing the plot of a play, and was literally pinned to the back of the scenery. It is also known as canovaccio or "that which is pinned to the canvas" of which the scenery was constructed.

Surviving scenarios from the Renaissance contain little other than character names, brief descriptions of action, and references to specific lazzi with no further explanation. It is believed that a scenario formed the basis for a fully improvisational performance, though it is also likely that they were simple reminders of the plot for those members of the cast who were literate. Modern commedia troupes most often make use of a script with varying degrees of additional improvisation.

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Lazzi in the context of Canovaccio

A canovaccio is a scenario used by commedia dell'arte players. It consisted only of a list of acts and scenes; the details were left to the improvisation of the actors. Actors in the commedia dell'arte thus had to be endowed with an inventive mind since the success of the play depended largely on their creativity and above all on their lazzi (jokes and gags). The spotlight fell on the actors rather than on the play itself.

The use of improvisation on top of canovaccio enabled the avoidance of censorship because censors cannot censor that which is not written. Since the dialogue was almost entirely improvised on stage, actors and theatre companies could get away with almost anything.

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